What do we do with the Key skyscraper? As if the past of a divided and controversial family leaves unaware children with a property that no one feels they need. The mayor of Latina, Matilde Celentano says… The city will decide. And how, with a referendum? With a gigantic collection of signatures? Like with the Berlin Wall where everyone takes away a piece? I would say… It will decide the challenge we want.
But who is the city, who are we and does that skyscraper belong to us? My grandparents left me the house where I was almost born, certainly grown up, torn between love and use I fill my head with memories and the future. Here is the 42 meter high Key, in the centre, what remains of a southern Milan that could have been and wasn’t. A utopia towards the sky, with the use of kappa in American times, furniture made easily and for a short time and no longer forever in solid wood. Key is not a skeleton, it’s a hypothesis that never came true. What to do with it? Telling it, also telling about its engineering audacity and the awareness that its defeats must also be remembered. The Key is the defeat of an industrial city that has remained a child. The Key, the nuclear power plant, the Pozzi Ginori, the former sugar factory are the skeletons of what remains of this ephemeral time. What to do? Let’s not let the iconoclastic anger of our post-democratic history decide, but let’s call those who are regenerating Italian cities, I think Milan, someone like Boeri, Fuksas, Renzo Piano or… You do it. But let’s not act at home but let’s dare to turn a drama into an opportunity. Imagine a plan that regenerates the area that goes from the Key to the old bus lines, passing through the oratory spaces, to the Cambellotti Museum. And then if desired in the sports center of the stadium, swimming pools and sports hall. An urban chessboard that turns into a protagonist. He says, the city decides, I would say let’s let the ideas decide. In Milan they did it with forests on skyscrapers and crooked skyscrapers. We? We dare to seek the best that we have paid a fee to the banal since 1932.
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